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Rushmore (1998) - 8
Work that precedes The Royal Tenenbaums, which shares significant DNA. Rushmore is a comedy largely supported by the ridiculously adult and smug ethos of Max Fischer. A 15-year-old boy without the slightest notion of proportionality supposed to measure the ways of a teenager in his age when getting along with other people. He treats old-timers and youths as if they were all his equals, endowed with fearless bravura and propelled by his creative and enterprising wits. His hyperbolic character leads him to casually spark a friendship with a much older industrial man who builds admiration for the boy's pseudo-adult attitude. Both of them eventually find their hearts beating for the same woman, a beautiful teacher in Rushmore school, where Max... doesn't study. Each one will try to win the teacher's love in his own way and naturally the romantic mechanics between a bold 15-year-old boy and a woman with the competition of an even older man mixed in is a recipe for bizarre and hilarious situations throughout. I enjoyed very much the theater play scenes, they gave another quality and vitality to Rushmore. In a way, those scenes highlighted the evidence that there's a clear contrast between what can be real and what cannot, the difference between reality and fiction. Reality is not utopian like fiction, nothing happens out of pure will. Anything demands effort, patience and sense of proportionality. Everything comes in its right time and has its own place. A lesson that young Max Fischer has learned by the end of the film.
Wes Anderson likes to fantasize with people, seems like he is trying to capture some precious unobtainium underlying human relations and psyche. He plays with personal and social limits. There's usually a somewhat eccentric character, or group of characters, who have to endure through ordeals to reach the desired goal or redemption. Personal development is a common theme in Wes Cinema. Prominent attention is given to small gestures, either manifestations of affection or contempt. Younger people are an important part of the social mechanics and adults can't get away from giving satisfactions to youths when these so demand. In fact, children have adultlike maturity and social skill. This particular point is a source of great amusement for me, but it's subtle. Max Fischer is that taken to the limit. So far, Wes movies have left me with the feeling of a bittersweet spell hovering over all human relations. They're sweet movies in an unreal way, but although it's artificially crafted sweetness, it feels natural and organic. Everything flows coherently in a mannerist way. The acting could be better, but it's not too distracting. Rushmore is smartly written, technically flawless, engaging, emotionally powerful and super fun! I burst into laughter on an almost regular basis, I love the way how Wes constantly throws in snippets of humor to keep a smile on my face. Flavored and tasty Cinema. Wonderful cinematography and Olivia Williams is a goddess! I enjoyed Rushmore very much. Recommended!
Rushmore (1998) - 8
Work that precedes The Royal Tenenbaums, which shares significant DNA. Rushmore is a comedy largely supported by the ridiculously adult and smug ethos of Max Fischer. A 15-year-old boy without the slightest notion of proportionality supposed to measure the ways of a teenager in his age when getting along with other people. He treats old-timers and youths as if they were all his equals, endowed with fearless bravura and propelled by his creative and enterprising wits. His hyperbolic character leads him to casually spark a friendship with a much older industrial man who builds admiration for the boy's pseudo-adult attitude. Both of them eventually find their hearts beating for the same woman, a beautiful teacher in Rushmore school, where Max... doesn't study. Each one will try to win the teacher's love in his own way and naturally the romantic mechanics between a bold 15-year-old boy and a woman with the competition of an even older man mixed in is a recipe for bizarre and hilarious situations throughout. I enjoyed very much the theater play scenes, they gave another quality and vitality to Rushmore. In a way, those scenes highlighted the evidence that there's a clear contrast between what can be real and what cannot, the difference between reality and fiction. Reality is not utopian like fiction, nothing happens out of pure will. Anything demands effort, patience and sense of proportionality. Everything comes in its right time and has its own place. A lesson that young Max Fischer has learned by the end of the film.
Wes Anderson likes to fantasize with people, seems like he is trying to capture some precious unobtainium underlying human relations and psyche. He plays with personal and social limits. There's usually a somewhat eccentric character, or group of characters, who have to endure through ordeals to reach the desired goal or redemption. Personal development is a common theme in Wes Cinema. Prominent attention is given to small gestures, either manifestations of affection or contempt. Younger people are an important part of the social mechanics and adults can't get away from giving satisfactions to youths when these so demand. In fact, children have adultlike maturity and social skill. This particular point is a source of great amusement for me, but it's subtle. Max Fischer is that taken to the limit. So far, Wes movies have left me with the feeling of a bittersweet spell hovering over all human relations. They're sweet movies in an unreal way, but although it's artificially crafted sweetness, it feels natural and organic. Everything flows coherently in a mannerist way. The acting could be better, but it's not too distracting. Rushmore is smartly written, technically flawless, engaging, emotionally powerful and super fun! I burst into laughter on an almost regular basis, I love the way how Wes constantly throws in snippets of humor to keep a smile on my face. Flavored and tasty Cinema. Wonderful cinematography and Olivia Williams is a goddess! I enjoyed Rushmore very much. Recommended!